bios from dub to dubstep

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My relationship with dates back about ten years. I dropped out of school in Glasgow in 2005, thinking I was about to go to college, but I was too busy drinking cider in the park to decide what to learn. I often found myself on a hardcore show, but in the end I got bored of what they could offer. Then I discovered clubs. I lived in a country completely different from the one where I created everything new and exciting in British dance music of the time, but when I participated in minor parties, I heard some DJs playing at London parties, I really wanted to: FWD >> on Plastic People and DMZ on Mass.

At that time, I got a job at the low-budget Fopp music store. “Let's buy some of this music,” the employee asked me. "You can have five CDs, okay?" they said. “So if they sell, we'll see.” We ordered the first Skreams album, the first Tectonic Plates compilation, the first Burials Dubstep Allstars Vol.1.4 album, mixed by DJ Hatcha and Youngsta, and the Warrior Dubz compilation, organized by Mary Ann Hobbs. They were soldWe are almost immediately. Hundreds of miles from the epicenter of this sound was an appetite - my own confidence, almost aggressive. This is the most incredible thing I've ever heard, I think and still hear.

is a combination of sounds and cultures that feel gigantic in their heritage: reggae, dub, jungle, garage, drums and bass, house and techno. At the turn of the millennium, some of these genres were strong, while others collapsed under the weight of their own mediocrity and their own ego - and it was this stagnation that caused something shocking and unique. In the late 1990s and early 2000s, a team of friends from South London decided that the hell they were tired of this inheritance; loved him, yes, but because of his story, and not because of his urgency. Now they will do their job.

These friends created a sound that changed electronic music. This year, Dubstep is almost 15 years old (and next month he is selling the 10th anniversary of the DMZ in South London and feels more loved than ever). Therefore, the summer of 2015 seems to be the time to tell our story. This is not an encyclopedia of the genre; it will come, I'm sure. This is a story about sound and culture told by some of those who built it. It is dedicated to the memory and work of Stephen Samuel Gordon, AKA Spaceape. Rest in peace.

Mala: As one of the founders of the London DMZ Club Night and Label, in addition to Coki, he is also part of Digital Mystikz and a DJ and solo producer. Loefah: As a producer, DJ and one of the main contributors to the evening and the DMZ club label, he also runs Swamp81. Sgt Pokes: Sgt Pokes is the main MC of DMZ parties, which has been conducting dubstep parties for 15 years.

MALA: I remember growing up, thinking that the sky is gray, the streets are gray, and the buildings are gray. Over the weekend, the teams played in the fields behind this so-called “lake”, on which you could literally walk. They called it “landscape park”, but the city council did not care about maintenance, and it was just a place where old bunkers burned down. There really wasn’t much going on.

LOEFAH: There is a reason why everything came from Croydon. Croydon was just an incestuous city where people never worked, drank, stole or fucked. I used to go to hardcore raves and split into the jungle drums and bass, but the drums and bass were homogenized, and suddenly a garage appeared. Before the summer holidays of 1997, everyone was in the jungle. After the holidays, everyone was in the garage. It was so fast.

MALA: I, Koki and Pox were at school together. In the mid-90s, we played at home parties and met Loafa through friends at the age of about 15. It was a boy who, like us, was on the [revolutionary drum and bass label].

SGT POKES: My father even worked with Mala's father and went to school with Koki's father. Around 2000-01, I ran a bar in Croydon, where I also spent drums and bass nights. Mala was also MC; Play at garage parties like Twice As Nice under the name Malibu. If you count who Digital Mystikz is now: Mala and Koki? One was Malibu and the other was a stake. Mala actually wrote a song with MC called Onyx Stone, which was her MC partner at Twice As Nice, titled "Whadda We Like?" - I think it was released at Cooltempo in 2001. I think that after this period, Mala could see the side of the music industry that made him so opposite; You know to be an anti commercial atmospherethe one in which he lived for years?

LOEFAH: We all started writing music around 138 hours, then we met on Friday and played it together. Since we grew up with sound systems, everything revolved around the lower end, but we had our own mood: Mal had a broken dub house, Koki had more ragga and a dance hall, and I tried to reinvent the jungle in my head. because I could not understand why this did not work.

Then we met with Hutch [a key figure in dubstep sound development and a Big Apple record store employee]. One evening, after a rave in April or May 2003, he brought us with Mala home, and in the car was a CD with Mala, Koki and my own punches. Hutcha heard them and said: “I could play them on the [Vital East London Dubstep and Grime Night] FWD >>.” We said, “What is FWD >>?” The first time we went to FWD >> he played in Chamber, Pathwaysm and Mawo Dub. From that moment on we were really addicted.

I know that it was there, but it was more ambition at the time. So if you had access to it, it was Rinse. Mala always came to me, toWhen Hutch and Youngst were broadcast, they parked their car on a street in South Norwood and received a signal from Crystal Palace Tower. It was such a dubious reception - and the heater in his car did not work either, so it was a hell of a frost - but we sat in our car for hours, taking pictures of zoos and listening to Rinse.

SGT POKES: Minor called me and said: “I wrote some songs. Hatcha edited some of me, some of Cokis, ”during the“ Indian Dub, ”“ Tracks, ”“ Mavo Oak. ”Hurricane Kick,“ Fire Elements ”and long before he was on Dubplate. It was one of the most the hottest things I’ve ever heard. I really wanted to hear it at the club. I was at FWD >> and knew that I could talk there, but after that I went downstairs to listen to the tunes of my friends - and that was just them music all night.

Martin Clark: journalist and DJ from London, who has worked for various British publications and now runs Keysound and club night. Youngsta: widely recognized as one of Dubstep's top DJs. Kode9: A London-based producer and DJ of Scottish descent who founded Hyperdub and continues to do so. Oris Jay: producer and DJ from Sheffield, also known as Darqwuan, created the dubstep break element.

MARTIN CLARK: Around 2000, I came across records that suggested something else. When the garage broke up, there were people who wanted to keep the darkness and still focus on the MC, but these discs were a hybrid of the garage: creative and productive, in their dark and strange corner. I worked at that time, and they asked me to organize an Easter photo shoot in Croydon on Easter 2000, so I met [producers whose music bridged the gap between the garage and dubstep in chronological and / or stylistically] J. Da Flex, Zed Bias and El B.

The garage managers were firmly convinced that this music was not a garage, but a goal. El B had a real topography of style, in the warmth and obscurity of his instrumentalism. At first, everything was hidden in the signal and noise of the garage with a poppy, but it became clear that they needed to concentrate it in one or two places in order to find its legs. At this point, [FWD >> founder and director of Rinse FM radio station] and Neil Joliff, who and Shelflife, founded the company under the nameby Ammunition around 2000-01.

YOUNGSTA: I saw the changes when "138 Trek" DJ Zinc was released in 2000 and played with all the massive garage DJs. For me, everything was my sister Sarah ["Soulja" Lockhart]. It made me do it. I remember I was 13 years old when I had the first slot between 2 and 4 in the morning. Sarah even took me to Frik FM every Saturday because I was too young to go alone. She also provided me with music for her work: for the distributor, then at the music store, which was the Vibe bar, then at the black market in Soho. I got all the test pressures from her early, and when she started using Neil Joliff’s ammunition, I also got all the stocks.